The signal oil program, the Whistler.
That whistle is your signal for the signal oil program, the Whistler.
I am the Whistler and I know many things for I walk by night. I know many strange
tales hidden in the hearts of men and women who have stepped into the shadows.
Yes, I know the nameless terrors of which they dare not speak.
Yes friends, it's time for the signal oil program, the Whistler. Rated by
independent research, the most popular West Coast program in radio history. In
gasoline, you know, it takes extra quality to give you extra mileage and
signal is the famous go-farther gasoline. So look for the signal circle sign in
yellow and black that identifies friendly dealer-owned signal service
stations from Canada to Mexico. And now the Whistler's strange story, the black
book.
Paul had looked forward to the opening night in Philadelphia for months and if
anything it had exceeded his brightest hopes. In a way it was a reward for the
four long years of struggle since he'd come to Cecil Wenham's Valley Arts
Company as an unknown dancer from London. Yes, Philadelphia was a wonderful opening
with five curtain calls for him alone after Spectre of the Road.
He knew he had America in the palm of his hand now, that the morning papers
would hail him as a star, that he was no longer a promising newcomer but a great
dancer. So it was ironic on that night in Philadelphia, with the applause still
ringing in his ears, that Cecil Wenham should come into Paul's room and shatter
his dream into a thousand bits. Paul. Hello Cecil. Paul, I've done it. I've signed
her up. You'd better tell me tomorrow. I'm dining with some friends. A three-year
contract exclusive with options on two more. Look Cecil. I want you to meet her
Paul. She's up in my office now. All right. Who is it Cecil? Of course I couldn't
tell you her name until now but Paul we've got the greatest choreographer and
ballet mistress in the business. I had a hard time persuading her to leave London.
Wait a minute. London. Oh she's been topped over there for years. Who is it Cecil?
Tell me. Catherine Valadon. Catherine Valadon. You hired Valadon. You know her?
But she doesn't dance. I'm buying her head not her feet. She'll direct the company
for us. She's out there now. Yes. I said I was late Cecil. Oh come on. Did you hear me?
I'm late. I don't want to talk to anybody. Now please leave me alone.
Yes it's ironic isn't it Paul? This night of triumph the great performance, the
resounding applause suddenly becomes meaningless and there's a heavy feeling
of defeat inside you as you sink into the sofa in your dressing room alone now.
You sit there thinking half hearing the music of the finale and in your mind it
seems to change slowly and strangely into another melody on a rehearsal piano
four years ago in a London theater. A couple moves down stage center. The young
man steps to one side as the woman comes to a point in front of him. The man is
you Paul and the woman Catherine Valadon.
No no no stop it. We're all off. Do you mind Paul? I'd like to get it right just this once.
What's the matter now? You're supposed to lift me at that passage. I know it. Then why did
you stand there like an oaf? You are at least two beats behind me. I was following
the music that's more than I can say for you. Wait a moment now.
Carling won't get us anywhere. What's the trouble Catherine? I am waiting for Paul to
decide to become a dancer. Perhaps you can convince him Mr Brady. I am ready to
give up. I'll be in my dressing room if you need me. What's the idea Paul? She's
always waiting for me to slip so she can pounce on me. You had no right to talk to
her like that. The timing was off and you know it. No wonder it's off. I told you I
can't dance with her. She's a she's a machine not a woman. Listen to me Paul. I'm
not going to let that phony artistic temperament of yours upset this company.
You're going to her dressing room right now and apologize to her. I'll do nothing
of the kind. You'll do it or leave the company. Look Brady that's pretty
unreasonable of you. I'm dealing with an unreasonable man.
Could you do as I say? Very well Brady.
Well Paul. I've come to tell you that I'm sorry. How sweet of you. You can write
that in your little black book too. At exactly 3 15 and a half on the
afternoon of October 18th Paul Cartmell came into your dressing room and
apologized humbly. Did you come here to insult me again? You'll be a charming
woman if you weren't such a machine. Everything so so prompt, precise, exact.
It's my profession. It's your life. You're not human Catherine. Suppose you forget
about me and concentrate on your own shortcomings. All right. All right I'm
sorry. Is he going on with the rehearsal? Of course. All right let's try it again
and this time keep your mind on your work.
Yes it's coming back to you isn't it Paul? How you walked back on the stage
with her humiliated raging inside trying to ignore the embarrassed faces of the
rest of the cast. The pianist picked up your cue and the two of you moved
together. She was poised before you on the point and as you moved in to lift her
a single idea took hold of you. Yes there's a traditional hazard in the ballet
Paul. A dancer dropped hard on a pointed toe will never dance again. You lift her
above you higher and higher. Then in a blind rage you relax your hold.
How is she doctor? I can't say yet. We're waiting for the x-rays. Is it is it all
right for me to go in? Oh of course. Her friends are in there with her. Thank you.
You're being a wonderful sport about it all Cathy. Why not you don't think a little thing like a bruised toe.
Oh hello Catherine. Paul what a lovely bouquet. I hope you like them. I love them
darling it's so thoughtful of you. Catherine I I want to tell you how awful
I feel. I I don't know what happened. Not another word now. It was an accident Paul.
Of course it was happens in the best of company. And they've all told me I'll be as good as
ever in a week or so. Now run along you two. I want to talk to Paul. Sure enough
keep it up old girl. Goodbye Cathy. Goodbye. See you tomorrow at one. One thirty dear. Visiting hours you know.
Put me in the black book darling. I'm so glad you're taking it this way Catherine.
I felt like such a heel. That's just it. You are a heel. What do you mean? Do you
think I'm stupid Paul? Do you think I'm blind? Accident. Everyone's talking about my
unfortunate accident. Now just a minute. You did not slip Paul. I felt you let me
go deliberately. And don't think I've swallowed that sugarcoat and nonsense
about coming out of it as good as ever. I'm through as a dancer and I know it. Do
you know what it's like to be through Paul? Do you know how it feels to lie in a
hospital bed with everything behind you and nothing ahead? Well you're going to
know Paul. I'm going to show you if it takes the rest of my life.
And that's what brought you to America Paul. You never admitted it even to
yourself. Told yourself it was the war. Gave yourself a thousand other reasons.
But at the bottom of it was fear. Of a little black-eyed ballerina you knew
would kill you if everything else failed her.
Yes Paul. Catherine Valadon is caught up with you at last. In spite of the new
name Paul Cooper. The new country. The new career. And as you lean back on the sofa
in your dressing room you know that here in Philadelphia in a single evening you've
won and you've lost. Paul. Yes Cecil. Mademoiselle Valadon may I present our star Paul
Cooper. Don't get up. I didn't intend to. Well Paul. Don't let it bother you Mr.
Venom. Paul and I are old friends. We've been through a lot together in London.
Haven't we Paul? In those days it was Paul Cartneld. For heaven's sake Catherine.
He's always this way when he's tired Mr. Venom. Well I better run along. You can
call rehearsal tomorrow morning at nine sharp. Please see that no one is late.
Well taking over tomorrow eh? Yes Mr. Venom. I'm taking over tomorrow.
With the prologue of the black book the Signal Oil Company brings you another
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longer. And now back to the Whistler.
So it all came to a climax in Philadelphia Paul with a ballet
performance of Spectre of the Rose that made all the years of struggle worthwhile
and it's strange somehow that on your night of triumph a woman named Catherine
Valadon should walk out of your past and threaten to destroy it all. Your positive
is only one reason why she came to the company as choreographer. The reason she
gave you in that London hospital room four years ago. By morning you know
there's only one answer you've got to make Wenham change his mind. I tell you
it won't work Cecil. Either Valadon goes or I do it. What's happening to you Paul?
Catherine's doing such a fine job now I want you to pull yourself together and
start dancing. I refuse to go on tour under these conditions. Oh must I remind
you of your contract? I don't care. You'd better care if it's violated you'll
never dance again. Never dance again. That's what she said. What? Listen Wenham you don't know her.
She's not just trying to drive me out of the company it's more than that.
She'll stop at nothing. I don't understand you Paul. What? I can't tell you
anymore but you've got to make a choice right now Cecil. Valadon or me.
I want you both for the good of the company. However if you force me well
you're big but you can be replaced. All right. All right replace me. Then another
company. Oh you're talking nonsense. Furthermore your contract is not for sale.
I can hold you for two years even if I put you to work shifting scenery. You
don't even have to dance you know. You better run along now. Valadon's waiting
for you at rehearsal.
It's no use Paul you're back in the old routine under Catherine's thumb again.
Just like four years ago in London. Only she's worse now isn't she? Much worse
because she's doing it all for a purpose. Yes and she doesn't let up for an
instant.
Well our prima donna has finally decided to attend the rehearsal. I'm sorry I'm
late I wasn't sure what time to call. The schedule is on the board.
Get paper easy end 1030 a.m. sharp. Can I be clearer than that? Is the world going to
fall apart if I'm two minutes late? A real artist takes pride in precision. I
prefer to save it for the dance. An excellent idea. You'll need it in the new
specialty I'm preparing. What are you talking about? I'm working out the
choreography now. It's a pas de deux especially for you Paul. I want to have it
ready by the time we go on tour.
You're frantic now not knowing what's in the back of her mind and during the days
that follow you wonder about the special dance she's preparing. What she meant when
she said it was especially for you. It becomes clear the afternoon she
introduces you to Eric Ballard a big hulking man who'd look more at home in
the wrestling ring than on a ballet stage. I meant to tell you more about Eric Paul.
He'll be an excellent supporting partner for you. Partner? Yes in the new ballet I'm
creating. Mr. Benham thinks it's very original. Actually it's based on
something we used to do in London. You and I. Catherine what are you trying to do?
You remember Paul? The one we were rehearsing the day you slipped? I've
rearranged it entirely. Eric here takes your place you take mine. I take your
place. It sounds like an exciting number to me Mr. Cooper. Eric why don't you go get
Mr. Benham we'll run through it for him. Sure thing Miss Balladon. Be right back.
Catherine what is this? Why did you hire that hulking fool of... Eric please Paul.
He's sweet to his friends. And devoted too. I suppose he'd do anything you tell him.
Perhaps but you needn't worry about the dance. He is very strong Paul. I won't do
it Catherine. If you think I'll fall for this crude attempt at revenge. Revenge?
That's the most you've ever admitted. I well I don't mean... Perhaps I should recall that
little London incident to the trade papers. Let them know that their
celebrated Paul Cooper is actually the Paul Cartnell who deliberately dropped
the great ballerina and made certain that Catherine Balladon would never dance
again. Catherine that's all forgotten you wouldn't make any... You'll rehearse this
number with Eric and is ready for the time when we want to add some variety to
the program. Whatever you say Catherine. Good you should enjoy it Paul. As Eric
said it will be very exciting.
The tour that follows is a nightmare with each new city a threat. You've
rehearsed the new ballet with Eric and all but the spectacular bit which is to
be performed on a high platform and you never know when Catherine will decide
that the time is right for her revenge. She knows you're afraid Paul that's all
part of it keeping you in suspense this way. From Philadelphia the company goes to
Cincinnati then St. Louis Chicago and on west to Denver. You expect the crisis
there but it doesn't happen. Finally in the last night in Denver when there's
only San Francisco left ahead you decide you can't stand it any longer that you
must face Catherine and have it out. As you approach your dressing room you hear
her talking to someone and step back out of sight as the door opens. Are we going
on ahead of the rest of the company Miss Balladon? Yes I have to make extra
arrangements. The thing we discussed Eric it's coming off in San Francisco. Well I've
been wondering if you changed your mind. You start after them Paul and then start
confused wondering. Through the open door of Catherine's dressing room you catch
sight of a notebook on a dressing table. The famous black book that contains
every move she makes every decision every appointment. You hurry over to it
thumb through the pages before she comes back. It's all there Paul. The hotel on
Knob Hill where Catherine will be staying. Her room number, the business
meetings, a list of appointments. The last one with Eric to end promptly at 11
tomorrow night. Then at the top of the next page the thing you're looking for
final rehearsal Cooper's specialty Monday 9 a.m. There's no question now Paul
she's made up her mind you're going to have an accident Monday. There's still an
alternative of course you can let Catherine end your career or meet her on
her own ground.
By the time she's left on the train you still haven't decided. It's the only
thing on your mind as you stand in line at the railroad terminal waiting to pick
up your reservation. There's a worried little man ahead of you. Listen I've
simply got to get space on that San Francisco train. I can give you an upper on
the next one but it won't do it won't do it all. You see I'm meeting the steamer
there the Silver Star sailing for Shanghai the next train will miss it. I'm
awfully sorry sir perhaps if you wait around there'll be a cancellation. Oh I
see thank you.
It comes to you at that moment Paul this is perfect. This train you'd plan to take
ahead of the rest of the company the frantic little man desperate for a ticket
on his way out of the country. You pick up your reservation walk over to the
stranger pacing anxiously in the corner of the station lobby. Excuse me you wanted
to go to San Francisco. Yes I simply got to get on that train. So I heard I have I
have a ticket here I want somebody to use. Oh I'm a I'm a traveling man you see
and well I I want my boss to think that I'm on that train. Oh but isn't it.
Nothing to it. All you have to do is travel in my name. Paul Cooper. What about
it Cooper. Mr. for a place on that train I travel as Mickey Mouse. Oh fine then
it's a deal Mr. Cooper.
What time is your next flight for San Francisco. We have space available on our
five o'clock flight tomorrow. Not till then I could do almost as well by leaving
by train tonight. Not quite sir our plane arrives in San Francisco tomorrow night
at 11. The train leaving tonight doesn't reach San Francisco until a half hour after midnight
1230. So you save at least an hour and a half. Well I guess I can use an hour and a
half extra sleep as well as anybody. Send the ticket over to the Denver Hotel
please. I'll leave the money at the desk. The name is Jackson.
An hour and a half Paul that's how much time you'll have but it's enough. Boy
you're on a schedule now too. As exact a schedule as the one in Catherine's
little black book.
You stay overnight at the Denver Hotel under the name of Jackson then pick up
your plane ticket. The next afternoon at 5 you're taking off for San Francisco.
It's a swift flight uneventful and half an hour after landing at Mills Field
you're stepping out of the elevator on the top floor of Catherine's Hotel. You
wait until the elevator starts down and then hurry to the stairs. Catherine's room
is actually two floors below. You glance at your watch as you knock softly on a
door. 1135 and the black book told you her appointment with Eric was to end
promptly at 11. You can depend on that Paul. Just a minute.
Paul what are you doing here at this time of night? I thought you were on the train.
I am on the train Catherine. What's the matter with you? Have you been drinking?
No Catherine. What's this all about? Why have you come here? To see you. What about?
Your unfinished business Catherine. I don't want to discuss that now. Please go
Paul. No more discussions eh Catherine. The appointments for the day over
complete. There'll be no interruptions. What are you? Paul. Come here Catherine. Oh no not the telephone.
Let go of me. Paul. I'll let go Catherine just as I did once before. But first. Stop it Paul. Please. Put down that candle stick.
As she falls to the floor you put the heavy brass candlestick back on the table.
Cross quickly to the French doors leading onto the balcony and open them
wide. A moment later you stand near the railing high over the glittering city.
Catherine's body in your arm. The little black book will tell them she was all
alone. Won't it Paul? No more appointments. The body hurtling to the street will
establish the moment of her death beyond any doubt and you can slip quietly down
to the station. Just in time to make an appearance when the train arrives. You
lift her high upon the railing and then. Cooper what are you doing? Let go of her. Put her down.
Get away from me. Leave me alone. Okay Cooper. Okay.
What the devil was he trying to? Good Lord. She's dead. How did he ever expect to get away with it?
Operator get me the police.
The Whistler will return in just a moment with a strange ending to tonight's story. Right now
however I'd like to clear up another mystery that baffles a good many drivers. There are many
brands of gasoline on the market. Some are naturally better than others. But how can you
measure the quality of gasoline? Well there's one very simple way if you just keep this in mind.
To give you superior performance, quicker starting, faster pickup and smoother knock-free
power, a gasoline must help your motor run more efficiently. Now when your motor runs more
efficiently you naturally get better mileage and mileage is something you can measure with your
speedometer. That's why signal says your speedometer is your best yardstick of gasoline quality.
Check yours and you'll find it's true. In gasoline it takes extra quality to go farther. And remember
signal is the famous go farther gasoline. And now back to the Whistler. The last you remember Paul
is the smashing blow of Eric's fist there in Catherine Baladon's hotel room on the 12th floor.
Everything's quiet now, no tension, no fear, just soft warm blackness. No Paul it doesn't seem to
matter now that you killed Catherine Baladon because she forced you to choose between murder
and a brilliant career. And it doesn't matter either that on this night for the first time in
all the years you've known her, she failed to follow the schedule in the little black book to
the minute. You open your eyes blinking into the glare of a white light at police headquarters.
Eric Baladon is talking to a quiet-faced man in plain clothes. At first I couldn't see how he
expected to get away with it. The door unlocked and everything. I got up there and walked right in. I
found him about to drop the body over the balcony rail to the street. Trying to make it look like a
suicide. What were you doing there, Valid? I was keeping an appointment I had with her. You were a
little late for that appointment, weren't you, Eric? Yeah, a boy's back with us. That's what did it,
you know, Eric. For the first time in Catherine's life she didn't go by the book. What's he talking
about? The notebook Miss Validon kept her appointments in. She changed the appointment,
didn't she, Eric? She changed it. You know her better than that. That book was a religion with
her. She lived by it. Don't tell me she lived by it. I saw that book back in Denver. Your appointment
with her was to end at 11. That's where you slipped up, Cooper. No, I didn't slip up. I was too
careful. I tell you, I saw it. That's not what I'm talking about. What do you mean? Take a look at
your watch, Cooper. My watch? Yeah, you forgot to set it back. You see, Cooper, you're still on mountain
standard time. Let that whistle be your signal for the Signal Oil Program, the Whistler, each
Monday at 8. Brought to you by the Signal Oil Company, marketers of signal gasoline and motor
oil and fine quality automotive accessories. Signal has asked me to remind you to get the most
driving pleasure, drive at sensible speeds, be courteous, and obey traffic regulations. It may
save a life, possibly your own. Featured in tonight's story were Jeanette Nolan and David
Ellis. The Whistler was produced by George W. Allen with music by Wilbur Hatch, story by William
Engvig, and was transmitted to our troops overseas by the Armed Forces Radio Service. This is Marvin
Miller speaking for the Signal Oil Company. This is CBS, the Columbia Broadcasting System.